建置「禮樂」的完型（Gestalt）結構──禮樂文明的源流、原理與實踐

Construct the Gestalt Structure of “Rites-Music”: Culture of Ritual and Music's Origin, Principle and Practicing

禮樂文明是中華文化的核心，甚至可以說「禮樂」文化是漢語哲學場域中集體無意識的符碼與象徵。然而過往對於儒學與禮樂文化的研究，多半強調「禮」的內涵與價值，而對於「樂」的論述少有著墨。其實，「禮樂」文化是由「禮」與「樂」兩個層次所組成，「禮樂」應該被視為一完型結構去理解，才能彰顯禮樂的意義與價值。此點可由孔子所謂「興於詩，立於禮，成於樂」的論述探得端倪。正因為「禮樂」不僅僅是一種外在制約的規範或道德準則，亦非單純具有強制性意義的道德根源，其更具有富於感染力與柔性力量「樂」的成分；如此才能達到「樂合同，禮別異」的互補效果，在完型結構中成為漢語哲學圈歷久不衰的道德能量場，形成一種集體無意識。 Civilization of rites and music 禮樂文明 not only is the core of Chinese culture, but also the symbol of collective unconscious in Chinese philosophical field. However, in the past, the studies of Confucianism mostly emphasized the value of “ritual”, while ignored the meaning of “music.” In fact, the culture of “rites-music” is composed of two parts: “ritual” and “music,” but why we usually only discuss the “ritual” but not “music”? In order to demonstrate the meaning and value of “rites-music,” we should regarded “Rites-music” as a “Gestelt structure” to understand. This is why Confucius said, “Prosper with poems, stand with manners, accomplish with music.” Just because “rites-music” not only the moral norm to constraint men, but also the power and energy that could make the emotional contagion to the subject. In the conclusion, we should know “ritual” make the different and “music” make the same. “Rites-music” is the Gestelt conception, so we couldn't divide the ritual and music as two parts, but need always make ritual and music together, and “rites-music” could show it meaning and value completely.